Quena Bolivian Jacarandá Ebony Bone in G
- 0.72 internal cane diameter
- Hardwood inlay and cut at angle to allow best airflow.
- Lacquered to protect instrument.
- Ships from Maryland.
- Precise tuning (440 Hz).
QUENA: JACARANDA, BONE, & EBONY
Professional BEAUTIFUL QUENA made of Bolivian Rosewood (jacarandá boliviano) bone and ebony. Tuned in G
Con turbos de jacarandá con el hueso ya incrustado, y le refuerzo y doy mi característica con la aplicación de ébano.
Brazilian Rosewood, like other exploited hardwoods such as Cuban Mahogany or Teak, has earned worldwide fame. Historically, it has perhaps been the species most frequently associated with the term “Rosewood,” and with its strength, hardness, stability, beauty, and acoustic properties, it’s easy to see why Dalbergia nigra has been used for everything from flooring to xylophone keys.
Due to the high demand and limited supply of Brazilian Rosewood, and its continued exploitation in recent decades, it has been listed in the most restrictive category of endangered species: CITES Appendix I. Not only is the lumber restricted from being imported or exported from country to country, but even finished products made of Brazilian Rosewood may not cross international boundaries.
Because of these heavy (yet justifiable) restrictions, several substitutes from the Dalbergia genus have been used in recent years, such as East Indian Rosewood, Honduran Rosewood, and Cocobolo; though perhaps the closest rosewood in terms of color and appearance may be Amazon Rosewood (Dalbergia spruceana)—another hard-to-find and pricey rosewood, though not CITES listed as Brazilian Rosewood.
Flute maker: Angel Sampedro del Rio lives in Argentina and has been making bamboo instruments since 1985. Angel has been a member and secretary of the Argentine Association of Instrument Makers and has won numerous awards. Throughout his career he has participated in a number of expos and has written articles and collaborated in acoustic instrument research.
How is this quena tuned? Quenas meant for professional use are tuned up at a "saturated blowing point, " that is, just before switching to the second octave. The reason is that if I tune them at a lower blowing point, a professional quena player could play it and say it's out of tune. An out-of-tune quena can't be fixed or fixing it is complex, while a quena that feels somewhat low can be corrected with practice. Now, it's worth noting that this isn't a defect in the quena; the same thing happens to metal flutes, not to mention the shakuhachi. It's most probable that when you start playing you get a "low" tuning, that is, a quena pitch that is a bit low. This depends on your embouchure (how you place your lips and blow the quena), and you usually solve this by opening the embouchure. You would try to move the "U" and the edge of the mouthpiece away from your lips. At that position, the instrument has the right body and volume. It is also possible to tune it up by blowing faster. This doesn't mean you blow out more air, but blowing at a greater speed. Both of these things can take several days to master.